Part 6

The original design for this plate is in the British Museum. In the same collection is also the design for _The Cow Lying Down_ (B. 2). On the same sheet of paper is a study of part of the cow in a slightly altered position, and this has been adopted in the etching. Except for this insignificant change, the two etchings are copied from the pencil studies with entire fidelity. And probably this was always Van de Velde’s practice, as it was with Potter and Du Jardin. It is, therefore, strictly speaking, incorrect to describe the drawings as being made for the etchings. The studies were etched simply that they might be multiplied.

None of the studies of cattle, etched by the Dutch masters, surpasses Van de Velde’s set of three, numbered 11, 12, and 13 in Bartsch. The second is reproduced (Plate IV.). Potter never produced an effect so delicate and so rich in colour as Van de Velde in these three etchings. At the same time there is no ostentation of skill; rather there seems a

kind of modesty in the workmanship that is winning. Equally excellent is the charming little study of a goat (Fig. 29).

Van de Velde, if not a great artist, was a true one, and his early death at the age of thirty-seven was a loss to the art of Holland.

INDEX

Altdorfer, 12

Amsterdam Cabinet, Master of, 60

Backhuysen, 53, 54, 55

Bartsch, 5, 23

Bassano, 60

Bega, 26, 31, 32

Berchem, 60, 63-65, 68, 71, 72

Beresteyn, C. van, 50

Bleecker, 63

Bode, 13, 55, 56

Both, A. 13

Both, J. 57, 58, 65

Bray, J. de, 18

Bredius, 8, 37, 63, 67, 77

Breenbergh, 57

Bronchorst, 56

Brouwer, 21

Bye, M. de, 74, 75

Cabel, A. van der, 48, 58

Callot, 12, 13

Campagnola, 35

Camphuisen, 67

Capelle, J. van de, 43, 53

Caravaggio, 13

Claude, 13, 55, 56, 57

Constable, 49

Cornelis Cornelisz, 18

Crome, 49, 50

Du Jardin, 60, 64, 74, 75

Dürer, 11, 35, 60

Dusart, 31, 34

Dutuit, 24, 26, 38

Elsheimer, 13, 14, 37, 55

Everdingen, A. van, 44-46

Fyt, J., 62

Genoels, 58

Glauber, 58

Goltzius, 18, 39

Goudt, Count de, 37

Goya, 32

Goyen, J. van, 42, 43

Gozzoli, 60

Groot, Hofstede de, 8

Grotius, 9

Haeften, N. van, 31

Hals, D., 18

Hals, F., 6, 18, 20

Hamerton, 6, 30

Helst, B. van der, 65

Heusch, W. de, 58

Heyden, J. van der, 52, 53

Hirschvogel, 12

Hobbema, 6, 49, 50, 77

Honthorst, 13

Hooch, P. de, 6, 9, 28

Hopfer, 12

Keene, 31

Klomp, 66

Koehler, 40

Koninck, P. de, 39

Laer, P. de, 57, 63, 74

Lautensack, 12

Leblond, 39, 40

Le Ducq, 5

Leech, 31

Leyden, Lucas van, 62, 70

Lippmann, 43, 75

Matham, 42

Metsu, 9

Miel, 13

Moeyart, 62, 67

Molyn, P. de, 42, 43

Naiwincx, 50

Ostade, A. van, 6, 17-32

Pater, Walter, 9, 38

Patinir, 35, 37

Picart, 25

Potter, 6, 60, 62, 63, 65-75, 77

Rembrandt, 5, 6, 13, 15, 24, 28, 38, 63, 72, 76

Roghman, 50, 52

Rousseau, Th., 49

Rubens, 11, 14, 15, 35, 60, 61

Ruisdael, 6, 7, 46-50, 77

Seghers, H., 36-40

Snyders, 60, 62

Spinoza, 9

Steen, 6, 9

Stoop, 74

Swanevelt, 13, 48, 58

Terborch, 9, 42

Theocritus, 62

Titian, 35

Tolstoi, 71

Uden, L. van, 35

Uytenbroeck, M. van, 55, 62

Vadder, L. de, 35

Vandyck, 15

Velasquez, 13, 60

Velde, A. van de, 60, 77, 78

Velde, E. van de, 18, 41

Velde, J. van de, 41, 55

Velde, W. van de, 44, 53

Verboom, 50

Vermeer, 6, 28

Vlieger, S. de, 43, 53

Vosmaer, 17

Waterloo, 5, 38, 48, 50

Watteau, 9

Westrheene, van, 66

Wet, J. de, 67, 68

Whitman, 70

Willigen, van der, 8, 17

Wyck, 57

Zeeman, 53, 54

FOOTNOTES:

[1] The last figure is doubtful. It is 8 according to Bartsch and Dutuit, but may also be 9.

[2] _Manuel de l’Amateur d’Estampes_: par M. Eugene Dutuit. Vol. V. Paris. 1882.

[3] By all the older authorities the date is wrongly given as 1625.

[4] The _Tobias and the Angel_ dates probably from about 1613, or a little later, as this was the date of de Goudt’s print.

[5] Probably the engraving, since Seghers’ print is a reverse copy from this, but in the same sense as the picture.

[6] No. 236 in Middleton’s Catalogue.

[7] In the National Gallery.

[8] Seghers has also been credited with the use of soft ground etching or of aquatint. Examination of the prints shows, however, that the effects in question were got either by using acid on the plate, or by working in dotted lines, not with the roulette but with the simple needle. In ascertaining these facts and in correcting some of his first impressions the writer has profited by the knowledge and the kind assistance of Mr. S. R. Koehler, Keeper of the Prints at Boston, U.S.A., whose authority on such questions is well known.

[9] This assumes him to have been born 1631. Another date given is 1633.

[10] See _supra_: p. 41.

[11] A drawing of his is dated _Paris, 1623_. And according to Bertolotti he was in Rome by 1627.

[12] Bredius gives the date as 1644.

[13] Exhibited last winter (1895) at Burlington House by the Duke of Westminster.

[14] Compare also a little-known piece of Whitman’s “The Ox-Tamer,” in _Autumn Rivulets_, which ends:

Now I marvel what it can be he appears to them ... I confess I envy only his fascination--my silent, illiterate friend, Whom a hundred oxen love there in his life on farms, In the northern county far, in the placid pastoral region.